Sustainable Graphic Arts Youth Exchange in Málaga

From 17 to 21 February 2025, the city of Málaga transformed into a collaborative lab for creativity, activism, and community, as it hosted the “Sustainable Graphic Arts Youth Exchange Journey.” This five-day experience brought together young participants from across Europe—Spain, Italy, and the Netherlands—to explore how graphic arts can contribute to sustainable and socially engaged practices. The event formed part of the broader CARAVANE initiative, promoting climate-conscious artistic methods rooted in youth empowerment.

The project was hosted at La Noria, a civic innovation center run by Málaga’s local government. Surrounded by greenery and located close to the city center, La Noria provided an ideal environment for reflection, artistic work, and cross-cultural connection. With dedicated spaces for co-creation and exhibitions, the venue functioned not only as a physical hub but as a symbolic space for nurturing ideas and taking collective action.

The central theme of the exchange was the use of graphic arts as a transformative tool. This encompassed silkscreen printing, stencil techniques, visual storytelling, and eco-conscious design. Participants engaged in both traditional and digital approaches, connecting craftsmanship with modern communication strategies. Importantly, these tools were placed in the service of environmental and social messages—from climate justice to responsible consumption.

Throughout the program, a series of workshops structured the learning experience. Sessions focused on the historical and cultural roots of graphic protest, the political potential of printed media, and the strategic design of impactful visuals. Participants learned to integrate text, imagery, and symbolism in ways that make messages resonate within public space—drawing on legacy practices from past activist movements while creating their own voice.

One of the most hands-on and memorable workshops involved screen-printing on textiles and paper, using only sustainable materials and inks. This tactile process offered a space for dialogue and experimentation, where each design was discussed as a collective decision. Similarly, the stencil workshops invited participants to co-create street-ready art that balanced accessibility with aesthetic power.

Beyond technical skill-building, the exchange emphasized critical reflection and co-responsibility. Participants engaged in daily debriefs, open discussions, and peer-to-peer feedback, where they explored questions of authorship, privilege, cultural sensitivity, and sustainability in art. These moments became essential for building mutual trust and rethinking the role of the artist in a time of crisis.

One standout session featured a collective mapping exercise, where participants visually expressed the social and ecological issues affecting their communities. This resulted in a wall-sized canvas of interconnected graphics and symbols—a spontaneous yet intentional visualization of shared realities, hopes, and struggles.

Urban engagement was also key. On day four, participants left the studio and took to the streets of Málaga to carry out a series of urban visual interventions. Posters, stencils, and wheat-paste prints were installed in chosen areas of the city. These temporary but powerful acts transformed the public realm into an open gallery—reclaiming space and inviting local passers-by to reflect, react, and even join the conversation.

The exhibition at the end of the program brought together all the pieces created throughout the week. Held in La Noria, the final showcase included printed works, photography documentation, installation pieces, and video testimonials. Visitors were welcomed to engage with the art on their own terms, resulting in an emotional and vibrant conclusion to the journey.

The project was further enriched by the diversity of its participants. Artists, designers, youth workers, and students from multiple cultural and social backgrounds contributed their unique perspectives. This diversity was not only reflected in the artworks but in the conversations and collaborative processes that unfolded throughout the week.

One of the unique qualities of the exchange was its balance between structure and spontaneity. While the program was designed around key workshops and goals, ample room was left for emergent practices, informal “art jams,” and free creative exploration. This open format allowed for experimentation and strengthened the idea of process over product.

The facilitators and mentors played a crucial role in supporting and guiding the exchange. Rather than teaching in a top-down way, they positioned themselves as co-learners—offering resources, artistic feedback, and facilitation while respecting the autonomy of participants. This horizontal learning model created an environment of respect, equality, and empowerment.

Participant feedback underscored the impact of the experience. Many described it as transformative, highlighting not only the skills they gained but also the deep connections they formed and the clarity it brought to their future goals. A participant from Italy wrote, “This was more than an exchange—it was a reminder that art can still mean something, can still be action.”

The project also addressed the material and ethical sustainability of artistic production. From the use of recycled paper and water-based inks to the emphasis on local sourcing and minimal waste, participants were encouraged to reflect on the environmental footprint of their practice. Sustainability was not only a theme—it was embedded in the structure and philosophy of the entire experience.

In the spirit of continuity, participants were invited to document their process and prepare materials for future sharing through CARAVANE’s platforms. Several collaborations were seeded during the week, with youth planning joint projects and local exhibitions in their home countries. The exchange was not an endpoint but a launchpad.

Finally, the Málaga journey reaffirmed the belief that youth-led artistic processes—when supported and taken seriously—can catalyze real dialogue and action. It proved that graphic arts are not relics of the past, but living, adaptable tools for communication, resistance, and renewal. This was a week of making, thinking, and imagining together—and it leaves behind echoes that will resonate long after the posters are taken down.